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Constructive 
Cover Designing 


OA BooKof Seventy-six Original Designs 

Reproduced in Color on Sunburst Cover Paper 

with an Introduction by 
Frank. Randolph. Southard 



‘Published by 

Hampden Glazed Paper and Card Co. 

Holyoke, Massachusetts 

I9T3 

*9 

( JrfoM 

V il 


1 ) > 


s 


NC<n3 

.H3 



Copyright, 1923 

by the 

Hampden Glazed Paper and Card Co. 
All rights reserved for all countries 


AUC24’23 

©C1A711618 


'Vvu 


•FOREWORP' 

I DEAS, invisible at their inception , when set in motion and carried 
to a proper conclusion become instruments of power, This unique 
book is but one example of how an original idea may be evolved into 
a larger and permanent form, 

!The book had its origin in a cover design contest in which more than 
thirty-five hundred American and European artists took part, There 
was a first prize of one thousand dollars and fourteen additional 
prizes. The contest called for the use of a specified cover stock of a 
certain size and resulted in an unusual showing of versatility by the 
artists in their suggestions of composition for all classes of artistic 
expression. 

The idea , in its evolution , resolved itself into a selected group of three 
hundred designs. These were exhibited in important art galleries of 
the larger cities throughout the United States and Canada and were 
viewed by thousands of people. This exhibition created unusual interest 
and called forth many favorable comments. Suggestions for reproduc¬ 
ing some of the designs in a permanent form created the inspiration 
for the present volume , while the enthusiastic co-operation of the artists 
whose designs have been reproduced has made possible its publication. 

The untiring efforts of those who have contributed to this work is proof 
that the spirit of craftsmanship is still alive. Therefore , with the sin¬ 
cere conviction that this volume has a constructive message for the 
world\ we offer it as a permanent contribution to the literature of the 
graphic arts. 


Hampden Glazed Paper and Card Company 


•Acknowledgments • 


This hooky “Constructive Cover Designing!’ 'was made possible 
through the co-operation of the various artists mentioned m the Descrip¬ 
tive Contents. 

The excellence of the printed sheets , which in every case are faithful 
reproductions of the artists' sketches , is due to the enthusiasm and pains¬ 
taking supervision 0/ Frank T. Ellis, of the Thomsen-Ellis Com¬ 
pany, Baltimorey who also supervised the making of all the engravings. 

The engravings were made by the B altimore-Maryland Engrav¬ 
ing Company under the direction of Richard D. Armiger, who 
also designed the sectional titles. 

The embossing plates were made by C. Struppmann & Company, 
West Hoboken , New Jersey. 

The title-page and headings throughout the descriptive section were drawn 
by Milton E. Dill, Baltimore. 

The cover was designed by Frank R. Southard, Director of the Com¬ 
mercial Art Courses of the United Y.M.C.A. Schools , New York. 

The inks used were made by Lewis Roberts, Inc., Newark , New 
Jersey , under the direction of Norman L. Lavers, and may be ordered 
by their formula numbers , as listed in the Descriptive Content . 

The binding was executed by the Eugene C. Lewis Company, New 
Yorky under the personal supervision c/Raymond E. Baylis. 

“Constructive Cover Designing” was produced by the Advertis¬ 
ing Department of Hampden Glazed Paper and Card Company, 
Holyoke , Mass. f under the personal direction of William S. Fowler. 



• Introduction • 


*An instructive analysis of the activities entering into the reproduction 

of an idea on cover paper 

RIMITIVE man used stone, bone, and bark as his first back¬ 
ground on which to convey his graphic ideas. With a stone and 
a metal stylus he carved signs and hieroglyphics and in this 
way written language began. From these crude beginnings to 
the present cover designs in this volume there is a story of 
thousands of years of labor, persistency, and ingenuity. 

Seeking the lines of least resistance, early man discovered that 
a brush and ink medium was easier and speedier to manipu¬ 
late on skins than was the chiseled or laborious carving methods. Persist¬ 
ing in his efforts, he found that the papyrus plant, when properly treated, 
formed a crude but better writing background than skins. From the word 
papyrus we derive our modern word paper. 



Sarly 

c Paperma%ing 


However, it is from the ancient Chinese that we catch the first glimpse of 
papermaking as we know it. These people discovered thousands of years 
ago that they could make paper from vegetable fibres which consisted 
mostly of cellulose. The short fibres, chiefly of cotton and flax plants, 
made a pulp which, when dried, formed a crude paper. It is interesting to 
note that the fundamental methods for handling the raw materials then 
were almost identical with those used today. 


The discovery that an impression could be obtained by laying a sheet tMoivable 
of paper or skin on an inked surface of hand-carved clay or wood tablet ^yP e 
was evidently the forerunner of printing. The early Chinese had movable 
types, but their words were pictorial suggestions and each different from 
the other. It was probably the rumors about these oriental types, together 
with the use of initial wood-block letters, that led to the invention of 
movable types about 1450. Many give Gutenberg of Germany and Coster 
of Holland credit for placing the use of movable types on a practical basis. 

This event was the beginning of a great period of learning, discovery, and 
development of the arts. 


~*H[ 7 3**" 







Early 
Color Printing 


c _"Modern 
c Paperma%ing 


Inventions 

Creating 

World 

cJtCarfiets 


Senefelder, in his effort to find a cheap method of printing, discovered in 
1796 that a certain limestone had an affinity for both grease and water. 
He reasoned that, if he should cover the letters with printing ink, he 
might be able to make an impression on wet paper. He met with success 
and from that moment lithography developed. This speedily brought color 
back to the printed page on a more practical basis than had been possible 
with the hand methods. 

Letter writing, development of postal communication, and the establish¬ 
ment of public libraries brought about an increasing use for paper. Paper¬ 
making soon took its place among the important industries and paper be¬ 
came the vehicle or background upon which the new revival of learning 
was carried. Hand-made papers could not keep up with the demand. Rag- 
stock supply being costly and scarce, wood came into use. The wood was 
crushed by mechanical processes or treated with chemicals to reduce it to 
pulp. In attempting to supply the increasing demand for paper the Four- 
drinier brothers, of France, lost a fortune in perfecting the paper machine 
bearing their name. This machine made a continuous sheet possible. 

The harnessing of electricity and the invention of the camera revolution¬ 
ized picture-making and printing. Laborious hand-carved plates on wood 
and chalk gave way to photo-engraved methods of reproduction. 

Alert modern business which has kept abreast of the times realizes that all 
these ideas and inventions have created world markets. Buying and selling 
in quantity has in a large measure been made possible through advertising. 
Newspapers and magazines are wonderful messengers, but the direct-by¬ 
mail methods using the “silent salesmen” to pave the way, reach all parts 
of the earth. 

At the present moment our attention is focused on these “silent salesmen’.’ 
Although ol various shapes and sizes, the majority of them are sent forth 
with covers which aid in accomplishing the purpose of their mission. Ow¬ 
ing to the variety of many makes and finishes, we will confine our attention 
to Sunburst cover paper which is the background for eachofthe seventy-six 
designs in this book. In glancing through the volume one is impressed with 
its variety of color hues and the refined mottled texture which creates the 
rich undertones. 

Certain problems enter into the use of this cover paper which require 
the experience, skill, and cooperation of papermaker, advertiser, artist, 
photo-engraver, inkmaker, and printer. Considering each of these spe- 

~*M[8 


cialists in the order that their ability is called upon to function, a glance at 
their respective problems may be of value to those interested. 

Whatever form of cover paper is planned for the “silent salesman,” there 
must always be an Idea. It is this Idea that is the success or failure of the 
campaign. The appeal is made through the eye, counting on a reaction of 
the brain to create a desire that gives the impulse to buy and results in the 
order. Great care is made not to go over the heads of the audience or the 
average four-hundred-word person. 

The advertiser, whether manager or agency, takes the Idea and pushes it 
to a conclusion. A rudimentary knowledge of drawing enables the adver¬ 
tiser to convey his ideas to the artist in a clear manner that always results 
in a better piece of work. Choice of paper is important, and the knowl¬ 
edge beforehand of what results may be obtained is vital in order to in¬ 
crease the pulling power of the finished message. The cooperation of the 
artist at this point adds the necessary artistic touch. 

The medieval artist was limited as to methods of giving expression to his 
ability and his audience was very small. The artist of today finds that im¬ 
proved methods enable him to give his ideas free rein while his audience is 
countless. With this unlimited field of opportunity constantly before him, 
the artist should have imagination, initiative, courage, and persistency. 

The progress made by paper manufacturers in recent years has given the 
artist a great variety of beautifully toned cover papers. Of all the surfaces 
produced the thousands of artists using Sunburst have discovered in this 
paper one particularly adapted for water color and tempera. Its artistic 
mottled texture lends itself to the touch of the brush and adds a charm im¬ 
possible to obtain on smooth surfaced stock. Thus the artist is able to make 
his original color sketch on the same paper that is finally used by the 
printer. 

• 

After the proper paper has been selected, it is important to allow the paper 
itself to be a part of the design. This is done most effectively by putting a 
suggestion of perspective into the drawing, that leads the eye into the pic¬ 
ture with a foreground object and is aided by silhouette treatment. By this 
use of cover paper its color atmosphere is introduced into the design to co¬ 
ordinate the picture with the paper, as shown by Plates 1,3, and 52. 

Composition is a subject vital to the Idea, whether it be written or graphic¬ 
ally expressed. Space arrangement, direction, quality and character of line, 

~*H[9 ]M*~ 


The Idea 


The 

Artist 


'Perspective 


Composition 


arrangement of masses, play of light and darks that create contrasts, and a 
center of interest by keeping the eye in the picture—all these are impor¬ 
tant points that aid the artist as well as the printer in developing the Idea. 
Lack of Idea and composition are two common faults. (See “Composi¬ 
tion,” by Arthur Dow.) 

Color An important element of composition is color. It creates an aid to the sell¬ 
ing power of the Idea when properly used. A careful study of the plates 
will show many different color combinations, all of which have been used 
with a proper appreciation of the theories ofcomposition. Color used with¬ 
out discretion is destructive. Choice of Idea, color, and technique is influ¬ 
enced by the character of the audience which must be carefully studied for 
a proper approach, as may be understood more clearly by a study of Plates 
16, 25, 27, 40, and 69. 

The artist should be given instructions before planning his drawing as to 
the number of colors or printings he will be allowed, because this is a guide 
to the limitations of the contract. Two to three colors are usually all that 
the advertiser will pay for. Four or more is the exception. This limited pal¬ 
ette requires skill and some knowledge as to the results of printing inks 
when one is placed over another. This knowledge removes the possibility 
of the artist being disappointed in using pigments that are impossible to 
reproduce. In order to obtain lighter tints of the solids, the artist may em¬ 
ploy spatter technique or Ben Day process. 

Spatter Spatter work is extremely effective because of its artistic hand touch. This 
effect is obtained by placing drops of the desired color on a small stiff 
brush and drawing a knife blade over the bristles. Where the spattering is 
not desired, sheets of protection paper are used. If not spattered too fine, 
line cuts may be used effectively on cover stock and are even better than 
Ben Day screens, which have an artificial pattern. Examples of spatter 
work may be found in Plates 2 and 48. 

‘BenT)ay In many instances, however, the Ben Day process is the only feasible 

Ttnts method to obtain lighter tints on cover paper. In preparing the line draw¬ 
ing for the engraver all parts that are not to be Ben Dayed are finished in 
the usual way. The spaces to receive the shading are left blank and, where 
the edges of the shading do not join lines of the drawing proper, a thin line 
is placed on the drawing for a guide in transferring the film. The original 
color sketch should accompany the drawing. For examples of this treat¬ 
ment refer to Plates 16, 2 5, 41, and 53. 


1 o 


When the reproduction is made direct from the original color sketch, thin 
white lines must separate the different color solids, because the camera 
does not distinguish differences in colors without the aid of filter screens. 
Red, orange, and yellow photograph black, whereas certain blues and pur¬ 
ples do not appear at all on the negative. 

The artist who specializes as a letterer has studied historic styles. The in¬ 
vention of movable types started a revolution in the alphabets. The intro¬ 
duction of the lower case or small letters was not only a great relief to the 
eye but added speed to reading. Today, the artist, if opportunity arises, 
creates atmosphere by suggesting nationality in the alphabet characters. 
The distinctive features of the advertised article suggest style of letter, as 
an examination of Plates i, 12, 14, 24, 36, 48, and 61 will show. Plates 
16, 42, 72, and 75 emphasize delicacy and refinement; Plates 27, 29, 61, 
and 68 require a classical touch; while Plates 26, 3 8, 53, 59, and 60 must 
have bold lettering. Often the artist uses a style of letter which has thick¬ 
ness or serifs totally different from type matter used in order to get con¬ 
trast or to emphasize the beauty of both. 

Good letterers all agree that few laws, if any, hamper them; but legibility 
is paramount. Average proportions approaching a square basis of the Block 
or ideal Roman classical letters are used as standards. Successful lettering 
is a matter of balancing empty spaces and the distance between words de¬ 
pends upon the style of letter and the effect desired. The complete lines of 
letters should be far enough apart to make reading easy. Finally, thought 
should be given to arrangement of all the lettering in order to coordinate 
it with the Idea both as to color and advertising appeal. 

One of the greatest factors—one which has been a powerful influence in 
creating modern advertising—is photo-engraving, the art of reproducing 
pictures in the form of relief or intaglio printing plates. The making of 
these plates is one of the important steps in reproducing the Idea. 

This volume is a convincing proof of the possibilities of line plates which 
have been used for the majority of the reproductions. In the making of 
these plates great care was taken to etch and rout deeply, while each solid 
color required a separate plate. For exact information as to the making of 
line plates and for further technical information, see “Commercial En¬ 
graving and Printing” a most comprehensive and helpful book by Charles 
W. Hackleman. 


fettering 


The ‘Photo- 
£ngraver 


~*H[ 11 


The 

Inkmakgr 


In the preparation of the drawing to be used by the engraver, it is best for 
the artist to make it proportionately larger than the finished size desired, 
because it allows more freedom in execution, and in reducing, the camera 
refines the effect. When the plates are finished, the engraver s color proofs 
should be pulled on the paper stock selected for the final job. One of the 
engraver’s problems is to get the uninitiated to understand that a camera 
enlarges or reduces in proportionate ratios only; that is, it the width is 
known, the length will vary in the same proportion. It is, therefore, safer 
to mark copy on one side only with the exact dimensions required than to 
say “reduce one-half or one-third, etc.” 

Paper, cuts, type, presses, skill, and ability may be at hand; but there is no 
message until ink comes on the scene. Thus it is that printing ink is the 
only medium through which the printer’s art is made manifest to the eye; 
printers’ ink is, therefore, one of the most important articles entering into 
the production of printing. 

An important fact for the artist to remember is, that it is difficult to pro¬ 
duce the opacity, brilliancy, and undertones made by artist brush strokes, 
because of the thin film of the printing ink which is transferred to the cover 
paper. Cover papers, because of their texture and color, require specially 
compounded printing inks, containing great opacity or covering quali¬ 
ties; but the ink, while it must have great concentration of pigment, must 
still be easily distributed by the roller on the press. 

Of prime importance is the knowledge as to whether certain effects can 
be produced with one or more impressions of ink or whether it would not 
be more advisable, in order to obtain brilliancy, to print a first impression 
of Cover White to be used as a filler. Owing to the fact that cover paper 
absorbs ink, an artist should avoid as much as possible the use of pure white 
effects on dark stock. 

For the most satisfying results, close cooperation between the printer and 
inkmaker is essential in order that the artist’s brush color effects may 
be perfectly reproduced. This volume in which the inkmaker worked in 
harmony with the printer every step of the way is a proof of the value of 
this cooperation. There was little, if any, manipulation of the inks other 
than the printer’s necessary mixing to match the artist’s effects. The beau¬ 
tiful brilliancy and quality of ink was made possible by the inkmaker’s ex¬ 
perimentation on the exact cover stock finally used. 

~*H[ 1 2 ]H*~ 


A retrospect of the early printing shop reveals close contact between print¬ 
er and artist. This is just as essential today. The early master printers 
worked in small old shops with heavy hewn beams, leaded-glass windows 
that permitted only a poor light, dingy fireplaces, smoky flues, and rough 
hewn hand-made furniture. There were contraptions of all sorts for mak¬ 
ing metal types. Wires for drying proofs were stretched across the ceilings 
and tall ladders were used to reach the dusty bookshelves. Kettles, mor¬ 
tars and pestles lay near the chimney flues and were used in making the 
inks. The hand-press was a picturesque affair which completed the equip¬ 
ment of this quaint shop. It was in this setting that these early master- 
craftsmen, costumed with breeches, aprons, and slouch hats, mingled with 
the famous artists of the day who used it as their rendezvous. 

This volume of seventy-six reproductions displays the spirit of toil, expe¬ 
rience, and achievement of the ages. Centuries have entered into its mak¬ 
ing and each plate reflects the highest ideals and traditions of the past. 
Prepared with patience and pride by the printer of today, it is a sincere 
effort to carry out the artist’s suggestions and so has revived the intimate 
contact between these craftsmen as in the past. 

In order that printers may catch the same spirit and produce similarly fine 
results, a reference to the descriptive contents is suggested. This indicates 
how Cover White and other light opaque inks were used as underlays to 
obtain the desired billiancy of top color. The information with reference 
to the formula numbers will prove valuable in order that every printer 
may have the same mixture of colors on similar work. 

Each plate was printed separately and a rubber blanket was used under 
the make-ready for greater uniform pressure. Otherwise it did not differ 
from the usual make-ready. For Plate 43, a process color halftone repro¬ 
duction, the cover stock was first hot-pressed,in order to create a halftone 
surface. 

The seventy-six cover designs, although they have titles which are sugges¬ 
tive, show how far-reaching they really can be made by a moment’s study 
of the index titles. These suggest untold possibilities in the use of cover 
papers and may carry the message of a small or large article to all parts of 
the world. The number of outlets is without limit and this index may sug¬ 
gest new fields. The designs are not to be copied, but are to inspire the 
creation and application of new ideas. They have been divided into nine 
groups to facilitate quick reference by advertisers and artists. 

~*H[ 1 3 J&- 


The 

Printer 


Conclusion 


Taper is 
Background 
for Idea 


Unity of 
\Vi dure and 
fettering 


c Ability to 
Use folor 
Vractically 


Certain essential characteristics to be found in most of the reproduced de¬ 
signs have made them worthy of selection from the standpoint of effec¬ 
tively overcoming many of the common errors in cover designing. Only 
three of the most important will be discussed, because, if these are careful¬ 
ly followed, it is almost impossible for one to go wrong in the develop¬ 
ment of a design. 

The background for every picture is paper and in cover work particularly 
it should always be made a part of the design. In this way the paper color 
eliminates one printed impression and at the same time, what is more 
important, introduces the atmosphere of the paper background into the 
design. This links the two together and produces a unity of appeal not 
gained in any other way, while perspective introduced into the picture 
prevents it from being flat and uninteresting. These principles are brought 
out most clearly in Plates i, 3, and 34. In border work the paper, if of a 
rich color, should always be used in forming the design. This is shown 
most convincingly by Plates 2 7 and 61. 

From the advertising standpoint, it is most important to join satisfactorily 
the title to the design in a way that will give concise advertising appeal. 
This is most effectively accomplished by introducing implied motion be¬ 
tween the picture and the copy—in other words, by furnishing a means 
and a way for the eye to travel easily between the description and the 
thing described. If the title is below a framed design, a break is often made 
in the frame to direct the course of attention; while in pictures where light 
is a factor, reflection is used. These principles are clearly shown in Plates 

1 >3>9j3 5>49j5 1 > and6 °- 

A problem that every commercial artist has to study and understand is the 
method of getting additional color effects without additional printed im¬ 
pressions. The utilization of the paper already mentioned is one way, while 
the use of Ben Day plates by the engraver is another. Furthermore, an 
entirely different color may be obtained by printing one Ben Day over 
another, each of a different color; i.e., black over a red to form brown. By 
a careful study of the following plates, a clear comprehension of this impor¬ 
tant method of treatment may be obtained. See Plates 1,16, 25,35, and 41. 

By a thorough understanding of these three chief factors involved in the 
production of any successful cover design, an artist may attain perfection 
in his original color sketch. Constructive Cover Designing, a lasting 
ample of this perfection, is the direct inspiration of Sunburst. 

~*M[ 1 4 >*" 


ex- 


•Index- 


^A list of the plates, each ith a title suggesting a practical 

application to its subject 


no ATE Jjandscape 

1 Country Estates 

2 Tree Surgery 

3 Travel 

4 Mountain Resorts 

5 Department Stores 

6 Vacation Camps 

7 “See America First” 

8 Tourist Travel Bureaus 

9 Transportation 
io Suburban Homes 
i i Summer Resorts 


Architecture 

12 Technical Publications 

13 Rural Farms and Homesteads 

14 Books and Publications 

15 Home Furnishings 

16 Interior Decorators 


- Fosters—Spot (jo vers —fa cl ets 

17 Coffee Merchants 

18 Carpets and Rugs 

19 National Parks 

20 Taverns and Tea Rooms 

21 Laces and Embroideries 

22 Steamship Tours of the World 

23 Art Metal Ware 

24 Millinery 

25 Farm and Garden Catalogs 

26 Trunks, Bags and Leather Goods 


27 

28 

29 

3° 

31 

32 


Jittering 


Exclusive Motor Cars 
Shoes, Boots and Slippers 
Building Materials 
Hotels 

Jewelry and Plated Ware 
Restaurants and Rotisseries 


<l Animated FMotifs 

33 Fairs and Animal Exhibitions 

34 Fancy Groceries 

35 “Say It With Flowers” 

36 Stationery Supplies 

37 Educational Institutions 

38 Fur Traders 


£ L 0 ATE Animated <Mlotifs 

39 Furriers 

40 Children’s Books 

41 Imported Furs and Skins 

42 Programs 

43 Soda Fountains and Restaurants 

44 Sea Food Industries 

ACarine 

45 Trademarks, Patents and Copyrights 

46 Books 

47 Alaskan Development 

48 Oriental Lore 

49 Photographic Views 

50 Foreign Publications 

Industrial 

51 Pneumatic Tires 

52 Shipbuilding 

53 Industrial Education 

54 Automobiles 

55 Cable and Wire 

56 Eyesight Conservation 

57 Motor Cars 

58 Automobile Accessories 

59 Oil Products 

60 Coal Tar Products 

Fine Arts 

61 Theaters and Amusements 

62 Clocks and Watches 

63 Oriental Handicrafts 

64 Pianos 

65 Landscape Gardening 

66 Musical Instruments 

67 Pottery and Ceramics 

68 Chinese Art 

"Borders —Fanels —Decorative 
.Motifs 

69 Banks and Savings Institutions 

70 Pianos and Phonographs 

71 Industrial Art Schools 

72 Haberdashers 

73 Manufacturers’ Supplies 

74 Printing and Publishing 

75 Household Metal Crafts 

76 Printing Refinements 


~*H[ 1 5 ]H*'“ 






























































































































































































• Descriptive Contents • 

For the Aid of Printers 


Lewis Roberts’ Cover Inks were used for the entire printing and may be ordered by their formula 
numbers as listed, from Lewis Roberts, Inc., Newark, New Jersey, manufacturers. A Color Chart 
on Sunburst Cover, showing the value of white underlays, has been prepared, and will be furnished 

on request by Lewis Roberts, Inc. 


Plate / 

RECEIVED FIRST AWARD ($1,000.00) 

By Maurice Day, Free Lance, Damaris- 
cotta, Me. 

Printed in 5 Cover Inks 

1 White—Underlay for entire design; two ad¬ 

ditional impressions for stucco and 
flowers 

2 Buff, H. G. 228 4 Lt. Green, H. G. 230 

3 Red, H. G. 229 5 Gold Bronze, F-2622 

Embossed 

‘Plate 2 

By G. Norman Kenyon, Free Lance, 319 
Lincoln Road, Brooklyn, N.Y. 

Printed in 3 Cover Inks 

1 Buff, H. G. 156—Two impressions; under¬ 

lay for entire design 

2 Lt. Brown, H. G. 157 

3 Dk. Brown, H. G. 158 
Spatter work 

Plate 3 

By Shelby Shackelford, Baltimore, Md. 
Printed in 3 Cover Inks 

1 White—Underlay for entire design 

2 Blue, H. G. 134 3 Orange, H. G. 135 

Plate /j. 

By Harry A. Merwin, care of R. S. Peck 
Company, Hartford, Conn. 

Printed in 3 Cover Inks 

1 Lt. Copper Bronze, 4000 

2 White 3 Brown, H. G. 243 


Plate 5 

By Harry A. Merwin, care of R. S. Peck 
Company, Hartford, Conn. 

Printed in 4 Cover Inks 

1 Gold Bronze—F-2622 

2 White—Underlay for Buff and Gray 

3 Buff, H. G. 215 

4 Gray, H. G. 216—Embossed 

Plate 6 

By Reginald B. Meller, Commercial Art¬ 
ist, 1314 Claus Spreckles Bldg., San Fran¬ 
cisco, Cal. 

Printed in 7 Cover Inks 

1 Gold Bronze, F-3475 4 Lt. Green, H. G.233 

2 Buff, H. G. 231 5 Lavender, H. G. 234 

3 Pink, H. G. 232 6 Brown, H. G. 235 

7 Dk. Green, H. G. 236 

Embossed 

Plate 7 

By Florence I. Cole, Free Lance, Hotel 
Claremont, Berkeley, Cal. 

Printed in 4 Cover Inks 

1 Yellow, H. G. 186 3 Lt. Purple, H. G. 188 

2 Lt. Green, H. G. 187 4 Blue, 3208 
Ben Day treatment 

Plate 8 

By G. Norman Kenyon, Free Lance, 319 
Lincoln Road, Brooklyn, N.Y. 

Printed in 4 Cover Inks 

1 White—Underlay for entire design; two 

impressions 

2 Yellow, H. G. 113 3 Gray, H. G. 114 

4 Dk. Green, H. G. 115 


•*M[ 1 7 ]M*“ 






Plate p 

By E. D. Bills, Chicago, Ill. 

Printed in 4 Cover Inks 

1 White—Underlay for Blue and Brown 

2 Blue, H. G. 151 3 Dk. Brown, H. G.152 

4 Black, 3618 


^Plate IO 

By Howard A. Davidson, 134 West Gorgas 
Lane, Philadelphia, Pa. 

Printed in 3 Cover Inks 

1 Light Red, 2082 2 Green, H. G. 217 

3 Gold Bronze, F-2622 

Embossed 


Plate II 

By Helen Fuchs Gundlach, Seneca Road, 
Ebenezer, N.Y. 

Printed in 2 Cover Inks 

1 Chrome Yellow, 2090 2 Orange, H. G. 127 


Plate 12 

By William Mohr, 512 Swarthmore Ave., 
Ridley Park, Pa. 

Printed in 2 Cover Inks 

1 Buff, H. G. 138—Two impressions 

2 Blue, H. G. 139 


Plate IJ 

RECEIVED HONORARY AWARD 

By Raymond E. Hill, Advertising Artist, 
1046 Little Bldg., Boston, Mass. 

Printed in 5 Cover Inks 

1 Buff, H. G. 103—Underlay for foliage 

2 Blue, H. G. 104 4 Green, H. G. 106 

3 Brown, H. G. 105 5 Black, 3618 


"Plate 14 

received third award ($100.00) 

By Lee Mero, Care of The Buzza Co., Pub¬ 
lishers, Minneapolis, Minn. 

Printed in 5 Cover Inks 

1 Yellow, H. G. 172 3 Blue, H. G. 174 

2 Red, H. G. 173 4 Green, H. G. 175 

5 Black, 3618 

Plate 75 

By Leroy Appleton, Free Lance, 61 West 
74th St., New York, N.Y. 

Printed in 3 Cover Inks 

1 Buff, H. G. 136 2 Red, H. G. 137 

3 Black, 3618 

Plate 16 

By Maurice Day, Free Lance, Damaris- 
cotta, Me. 

Printed in 5 Cover Inks 

1 White—Underlay for entire design includ¬ 

ing lettering 

2 Orange, 2797 

3 Buff, H. G. 149—Printed over Orange 

4 Blue, H. G. 150 5 Black, 3618 

Ben Day combinations 

Plate 17 

By Theo. G. Auge, Free Lance, 198 Broad¬ 
way, New York, N.Y. 

Printed in 5 Cover Inks 

1 White—Underlay for entire design 

2 Yellow, F-4819—Two impressions 

3 Lt. Blue, H. G. 102 

4 Buff, H. G. 101 5 Dk. Blue, 3457 

Plate 18 

By C. S. Busse, care of Leathersmith Shops, 
Glenside, Pa. 

Printed in 3 Cover Inks 

1 Red, H. G. 153 2 Medium Blue, 3383 

3 Gold, 2865—Two impressions 
Embossed 


-•*H[ 18 



^Plate 19 

By G eo. F. Mannel, Art Service, Wells 
Fargo Bldg., 85 2nd St., San Francisco, Cal. 

Printed in 4 Cover Inks 

1 Lt. Red, 2082 3 Dk.Gray,H.G. 141 

2 Lt. Gray,H.G. 140 4 Black, 3618 

^Plate 20 

By Clifford S. Hempel, care of The Caxton 
Co., Cleveland, Ohio 

Printed in 3 Cover Inks 

1 Lt. Brown, H. G. 122—Two impressions 

2 Lt. Green, H. G. 123 3 Black, 3618 


‘Plate 21 

By A. J. Johnson, 129 Parkway Drive, Syra¬ 
cuse, N.Y. 

Printed in 2 Cover Inks 
1 Gray, H. G. 154 2 Black, 3618 

Plate 22 

RECEIVED THIRD AWARD 

(BRITISH COMPETITION) 

By Ernest John Biggs, 125 Antrobus Road, 
Handsworth, Birmingham, England 

Printed in 3 Cover Inks 

1 Blue, H. G. 160 2 Green, H. G. 159 

3 Black, 3618 

Plate 23 

By William Schindler, care of Joseph Berg, 
713 White St., Port Huron, Mich. 

Printed in 2 Cover Inks 

1 Red, H. G. 155 

2 Gold, F-2865—Two impressions 
Ben Day treatment 


Plate 24. 

By Nathalie Sargent, Adv. Illustrator, 
4502 Walnut St., Philadelphia, Pa. 

Printed in 2 Cover Inks 

1 Yellow, 2080 2 Black, 3618 


Plate 23 

RECEIVED HONORARY AWARD 

By Curtiss Sprague, Free Lance, 15 East 
54th St., New York, N.Y. 

Printed in 4 Cover Inks 

1 Lt. Green, H. G. 190 3 Green, H. G. 191 

2 Lt. Red, 2082 4 Black, 3618 

Ben Day combinations 

Plate 26 

By Lee Mero, care of The Buzza Company, 
Publishers, Minneapolis, Minn. 

Printed in 4 Cover Inks 

1 White—Underlay for Yellow and Orange 

2 Yellow, H. G. 107 3 Orange, H. G. 108 

4 Black, 3618 


Plate 2? 

By Arthur M. Fitzpatrick, care of Walton 
and Spencer Co., 1245 South State Street, 
Chicago, Ill. 

Printed in 3 Cover Inks 

1 Pink, H. G. 218 3 Black, 3618 

2 Brown, H. G. 219 Embossed 

Plate 28 

By Paul Ressinger, Adv. Ill., 218 So. 
Wabash Avenue, Chicago, Ill, 

Printed in 2 Cover Inks 

1 Brown, H. G. 220 2 Gold Bronze, F-3475 
Embossed 


~*M[ 1 9 ]H*~ 



‘Plate 29 

RECEIVED HONORARY AWARD 

By Raymond P. Stickney, care of Edward 
S. Jones Sons Co., 178 Union Ave., Provi¬ 
dence, R.I. 

Printed in i Cover Ink 
1 Gray, H. G. 181 


Plate JO 

By Raymond P. Stickney, care of Edward 
S. Jones Sons Co., 178 Union Ave., Provi¬ 
dence, R.I. 

Printed in 3 Cover Inks 

1 Medium Brown, H. G. 132 

2 Gold Ink, H. G. 133—Two impressions 

3 Black, 3618 

Plate JI 

By Hugo Haeseler, Oak Lawn, R. I. 

Printed in 2 Cover Inks 

1 Blue, H. G. 221 2 Silver Bronze, R-5023 

Embossed 

Plate 32 

By Carl S. Junge, 143 S. Harvey Ave., Oak 
Park, Ill. 

Printed in 4 Cover Inks 

1 Gold, F-2865—Two impressions 

2 Lt. Blue, H. G. 201 3 Gray, H. G. 202 

4 Black, 3618 


Plate JJ 

By Fred E. Buss, Advertising Artist, Room 
229-E Myrick Bldg., Springfield, Mass. 

Printed in 3 Cover Inks 

1 Buff, H. G. 130 2 Lt. Red, 2082 

3 Dk. Brown, 3190 


‘Plate 34 

By Mary D. Gordon, 405 East Beverly St., 
Staunton, Va. 

Printed in 2 Cover Inks 

1 Red, H. G. 200 2 Gold Bronze, 3475 

Plate 33 

By Irma Read, 420 Met. Bank Bldg., St. 
Paul, Minn. 

Printed in 6 Cover Inks 

1 White—Underlay for entire design; second 

impression for all white solids 
showing 

2 Yellow, H. G. 222 

3 Pink, H. G. 223 

4 Light Green, H. G. 224 

5 Dark Green, H. G. 225 

6 Black, 3618 

Ben Day combinations with solids 

Plate 36 

RECEIVED HONORARY AWARD 

By Harry E. Pratt, Free Lance, 125 Hall 
St., North Adams, Mass. 

Printed in 5 Cover Inks 

1 Olive, H. G. 109 3 Lt. Gray, H. G. in 

2 Rose, H. G. no 4 Dk. Gray, H. G. 112 

5 Black, 3618 

Plate 3 7 

By J. D. Barstow, Publication Bureau, Art 
Dept., General Electric Co., Schenectady, N. Y. 

Printed in 2 Cover Inks 

1 Olive, H. G. 170—Underlay for Brown 

2 Dk. Brown, H. G. 171 

Plate 38 

By Arthur D. Hall, 17 Oak Square Ave., 
Brighton, Mass. 

Printed in 4 Cover Inks 

1 Buff, H. G. 145 2 Brown, H. G. 146 

3 Blue, H. G. 147—Underlay for Black 

4 Black, 3618 


~*H[ 20 ]N*- 


Plate 39 

By Marie A. Moniz, care of Edward S. 
Jones Sons Co., 178 Union Ave., Providence, 
R.I. 

Printed in 4 Cover Inks 

1 Buff, H. G. 176—Underlay for eyes 

2 Green, H. G. 177 

3 Silver Ink, F-2014—Two impressions 

4 Black, 3618 

^Plate 40 

By E. F. Hart, care of Harrison-Landauer 
Studio, 325 N. Charles St., Baltimore, Md. 

Printed in 6 Cover Inks 

1 White—Underlay for entire design except¬ 

ing stripes in gown 

2 Orange, H. G. 116 4 Purple, 3301 

3 Lt. Red, 2082 5 Gray, H. G. 117 

6 Black, 3618 

‘Plate 41 

By J. D. Ross, care of Bookwalter-Ball- 
Greathouse Ptg. Co., 1506 North Capitol 
Ave., Indianapolis, Ind. 

Printed in 4 Cover Inks 

1 Gray, H. G. 209 3 Lt.Brown,H.G.2ii 

2 Yellow, H. G. 210 4 Black, 3618 

Ben Day treatment 

Plate 42 

By Bernard C. Crider, care of Hamilton 
Studio, Reily Block, Hamilton, Ohio 

Printed in 3 Cover Inks 

1 White 2 Yellow, H. G. 120 

3 Bronze Blue, 1827 

Plate 43 

RECEIVED HONORARY AWARD 

By Willem Dieperink-Langereis, Art Dir., 
The Nypen Furniture Co., Warren, Pa. 

Color Process Halftone 

Printed in 6 Cover Inks 

1 White—Two impressions; underlay for en¬ 

tire design 

2 Gray, H. G. 237 4 Red, 2082 

3 Yellow, H. G. 238 5 Purple, H. G. 239 

6 Black, 3618 
Paneled by hot press. 

Halftone screen used—120 line 


Plate 44 

By J. C. Rambeau, care of Schmidt Litho. 
Co., 2nd at Bryant Street, San Francisco, 
Cal. 

Printed in 3 Cover Inks 

1 Light Green, H. G. 226 

2 Red, H. G. 227 

3 Gold Ink, F-2034—Two impressions 

Plate 45 

By Leighton Donnell, Free Lance, Ruther¬ 
ford, N.J. 

Printed in 3 Cover Inks 

1 Buff, H. G. 118—Underlay for entire de¬ 

sign; two impressions 

2 Medium Brown, 3376 

3 Dk. Brown, H. G. 119 

Plate 46 

By Maurice Kursh, Free Lance, 77 Irving 
Place, New York, N.Y. 

Printed in 3 Cover Inks 

1 Gold, F-2034—Two impressions 

2 Blue, H. G. 179 3 Brown, H. G. 180 

Plate 47 

By Geo. W. Manley, care of Fisher Brown 
Adv. Agency, 1627 Locust St., St. Louis, Mo. 

Printed in 3 Cover Inks 

1 Buff, H. G. 161—Two impressions 

2 Lt. Blue, H. G. 162 3 Dk. Blue, 3333 

Ben Day treatment; embossed 

Plate 48 

By G. Norman Kenyon, Free Lance, 319 
Lincoln Road, Brooklyn, N.Y. 

Printed in 2 Cover Inks 

1 Lt. Red, 121—Underlay for entire center; 

two impressions 

2 Black, 3618 
Spatter work 


~*H[ 2 1 ]H*- 


Plate 49 

RECEIVED HONORARY AWARD 

By John W. Sheeres, Consultant, Signal 
Corps, U.S. Army, Camp Alfred Vail, Ocean- 
port, N J. 

Printed in 5 Cover Inks 

1 Lt. Gray, H. G. 166—Underlay for Me¬ 

dium Gray 

2 Orange, H. G. 167 

3 Medium Gray, H. G. 168 

4 Blue, H. G. 169 

5 Dk. Gray, H. G. 170 

Tlate 50 

By Robert H. Isbell, Advertising Manager, 
King’s Palace, 810 7th St., N.W., Wash¬ 
ington, D.C. 

Printed in 3 Cover Inks 

1 White—Underlay for lettering and back¬ 

ground; two impressions 

2 Lt. Green, H. G. 125 3 Black, 3618 

‘Plate 5 / 

By Alois Sperandio, 892 Fairmount Place, 
Bronx, N.Y. 

Printed in 3 Cover Inks 

1 White—Two impressions for automobile 

body and ring of monogram 

2 Black, 3618 3 Gold Bronze, F-3475 

Embossed 

Plate 52 

By Chas. W. North, care of W. B. Snow & 
Staff, 60 High St., Boston, Mass. 

Printed in 3 Cover Inks 

1 White—First imp. underlay for entire de¬ 

sign. Second imp. body of ship 

2 Orange, H. G. 128 3 Black, 3618 

Plate 53 

By Louis A. Paeth, Free Lance, Naperville, 
Ill. 

Printed in 4 Cover Inks 

1 Gray, H. G. 182 3 Blue, H. G. 183 

2 Orange, 3299 4 Black, 3618 

Ben Day treatment 


Plate 54 

By R. J. Williams, Jr., care of H. D. Senat, 
Advertising, 1520 Chestnut St., Phila., Pa. 

Printed in 2 Cover Inks 

1 Orange, H. G. 124—Two impressions 

2 Black, 3618 

Plate 55 

By Geo. Leonard Shultz, Advertising Il¬ 
lustration, International Life Bldg., St. 
Louis, Mo. 

Printed in 3 Cover Inks 

1 Chrome Yellow, 2080—Underlay for Red 

2 Lt. Red, 2082 3 Black, 3618 

Embossed 

Plate 56 

RECEIVED SECOND AWARD 
(BRITISH COMPETITION) 

By Edward W. Lloyd, 5 Kidbrook Grove, 
Blackheath, London, S.E. 3, England 

Printed in 3 Cover Inks 

1 Yellow, H. G. 129—Underlay for title 

2 Lt. Red, 2082 3 Black, 3618 


Plate 57 

By A. J. Johnson, 129 Parkway Drive, 
Syracuse, N.Y. 

Printed in 3 Cover Inks 

1 White—Underlay for medallion; two im¬ 

pressions 

2 Orange, H. G. 126 3 Black, 3618 


Plate 58 

By Harold W. Van Heest, Com. Designer, 
154 Boylston St., Boston, Mass. 

Printed in 3 Cover Inks 

1 Buff, H. G. 196—Two impressions 

2 Blue, H. G. 200—Underlay for Black in 

center 

3 Black, 3618 


•~4H[ 22 ]H*~ 





Plate 59 

By Lee Mero, care of The Buzza Co., Pub¬ 
lishers, Minneapolis, Minn. 

Printed in 2 Cover Inks 

1 Buff, H. G. 131—Two impressions. Under¬ 

lay for foreground and title 

2 Black, 3618 

Plate 60 

By Brian P. Burnes, Adv. Illustrator, 1116 
Fullerton Bldg., St. Louis, Mo. 

Printed in 5 Cover Inks 

1 White—Underlay for high lights under 

Orange, Olive, Blue and Black 

2 Orange, H. G. 142 4 Blue, H. G. 144 

3 Olive, H. G. 143 5 Black, 3618 

Plate 61 

RECEIVED SECOND AWARD ( $ 200.00 ) 

By Garada Clark Riley, 400 N. Michigan 
Ave., Chicago, Ill. 

Printed in 2 Cover Inks 

1 Buff, H. G. 178 2 Black, 3618 

Plate 62 

By Arthur M. Fitzpatrick, care of Walton 
& Spencer Co., 1245 S. State St., Chicago, Ill. 

Printed in 3 Cover Inks 

1 Lt. Brown, H. G. 189 2 Black, 3618 

3 Gold Bronze, F-3475 

Embossed 

Plate 63 

By Richard Ashcroft, Free Lance, 114 
Overhill Rd., Providence, R.I. 

Printed in 4 Cover Inks 

1 White—Underlay for entire design 

2 Green, H. G. 192 3 Blue, F-4963 

4 Gold, F-2865—Two impressions 


Plate 6/J. 

By Louis A. Foerster, Free Lance, 81 
Dickinson Street, Springfield, Mass. 

Printed in 3 Cover Inks 

1 Blue, H. G. 203 2 Black, 3618 

3 Gold Bronze, F-2622 

Plate 65 

By Warren Keith, Free Lance, 204 East 
18th St., New York, N.Y. 

Printed in 4 Cover Inks 

1 Lt. Green, H. G. 204 

2 Blue, H. G. 205 

3 Brown, H. G. 206 

4 Dk. Brown, H. G. 207 
Embossed 

Plate 66 

By Robert Cupit, care of Carlton Engrav¬ 
ing Co., 418 Main St., Worcester, Mass. 

Printed in 3 Cover Inks 

1 Gold Bronze, 247 c 2 Lavender, H. G. 184 
3 Gray, H. G. 185 


Plate 67 

By V. F. Hobbs, Advertising Artist, 515 
Baker Bldg., Racine, Wis. 

Printed in i Cover Ink 

1 Brown, H. G. 148 Embossed 


Plate 68 

RECEIVED HONORARY AWARD 

By Marie A. Moniz, care of Edward S. 
Jones Sons Co., 178 Union Ave., Providence, 
R.I. 

Printed in 2 Cover Inks 

1 White—Two impressions 

2 Black, 3618 


~*H[ 2 3 ]H*" 





Plate 6<? 

By Arthur M. Fitzpatrick, care of Walton 
and Spencer Co., 1245 South State St., Chi¬ 
cago, Ill. 

Printed in 4 Cover Inks 

1 Lavender, H. G. 212 3 Lt. Blue, H. G. 214 

2 Brown, H. G. 213 4 Gray, H. G. 215 

Embossed 


Plate JO 

By J. S. Ross, care of Bookwalter-Ball-Great- 
house Ptg. Co., 1506 N. Capitol Ave., Indian¬ 
apolis, Ind. 

Printed in 4 Cover Inks 

1 Buff", H. G. 193 

2 Medium Brown, H. G. 194 

3 Dk. Brown, H. G. 195 

4 Gold, F-2865—Two impressions 
Embossed 


Plate 7/ 

By W. J. Smith, Adv. Art, 245 Francis Bldg., 
Louisville, Ky. 

Printed in 3 Cover Inks 

1 Brown, H. G. 208 2 Black, 3618 

3 Gold, F-2865—Two impressions 
Embossed 


Tlate J 2 

By Byron C. Robertson, Box 623, Minne¬ 
apolis, Minn. 

Printed in 5 Cover Inks 

1 Yellow, 2080 3 Lt. Blue, H. G. 198 

2 Pink, H. G. 197 4 Olive, H. G. 199 

5 Black, 3618 


Plate 73 

By Joseph Wiele, care of Graphic Arts, 
Hartford, Conn. 

Printed in i Cover Ink 

1 Green, H. G. 153 Embossed 

‘Plate 74 

By J. W. Fazel, Art Director, Capper En- 
graving Co., Topeka, Kans. 

Printed in 2 Cover Inks 

1 Buff, H. G. 164 2 Dk. Brown, H. G. 165 

Embossed 

Plate J 5 

By Robertson Mulholland, 35 Aberdeen 
Ave., Toronto, Canada 

Printed in 5 Cover Inks 

1 White—Underlay for Red and Blue, only 

2 Lt. Red, 2082 4 Black, 3618 

3 Blue, H. G. 163 5 Gold, F-2865— 

Two impressions 

Plate j6 

By Herbert B. Wilkinson, care of Thomsen- 
Ellis Company, Water and Gay Streets, 
Baltimore, Md. 

Printed in 5 Cover Inks 

1 Gold Bronze, F-3475 3 Buff, H. G. 241 

2 Lt. Green, H. G. 240 4 Blue, H. G. 242 

5 Black, 3618 

Sectional Pities 

By R. D. Armiger, care of Baltimore Mary¬ 
land Engraving Company, Baltimore, Md. 

Printed in 2 Cover Inks 

1 Buff, H. G. 244 


2 Brown, 3382 





























































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CALIFORNIA fS the TOURIST 


PLATE 7 



























PLATE 8 

























THE 

National Western 
RAILWAYS 


PLATE 9 


















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PLATE 13 


























































































































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QUAKER CRAFT 

LACE 



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Ph iladelphia 

















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PLATE 22 























































































































PLATE 24 






D.M.FEREY & CO. 

DETROIT. MICH. 


PLATE 25 










































































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LIMESTONE 



TH E • ARISTOCRAT • O F 
BUILDING - MATERIALS 




PLATE 29 

























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PROVIDENCE 


BILTMORE 

HOTEL 





PLATE 30 



















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LIGHTER* 



PLATE 52 






c4 •^Magazine ‘Discussing lManufacturing Dvtkms 


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THOMSEN 
ELLIS Press 
BALTIMORE 
NEW YORK 


EXAMINING THE PLATE 


COMPARING WTTH ORIGINAL 


SCENES FROM BAS RELIEFS * GUTENBERG'S MONUMENT 

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EFFECTIVE PRINTED MATTER DEPENDS 
VPON SEVERAL THINGS. WHAT THE 
PRINTER CONTRIBVTES IN THE WAY OF 
TYPOGRAPHY AND PRESS WORK IS 
ONLY ONE ELEMENT. PAPER IS AN 
ESSENTIAL-THE PLATES ARE ANOTHER- 
SO ALSO IS TH E ART OF THE DESIGNER 


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THIS BOOK IS A PHYSICAL DEMONSTRA¬ 
TION OF THE RESVLTS WHICH MAYBE 
ACHIEVED WHEN ALL ELEMENTS AP¬ 
PROACH THE PERFECT. HERE.SVNBVRST 
COVER STOCK HAS MADE POSSIBLE THE 
EXPRESSION AND PERMANENT RECORD 
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